








LIBRARY OF CONGRESS. 



UNITED STATES OP AMERICA. 



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•pHYSiGAL Culture 

-IN THE- 

PUBLIC SCHOOLS. 

Designed as a Guide for Teachers. 



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R. ANNA MORRIS. 

Supervisor ~ of Physical Culture and Declamation in the 
Ptiblic Schools of West Des Moines, lozva. 
I ,. - A) COPy RIGHT 




THE DELSARTE PRINCIPLES 

OF GYMNASTICS AND GESTURES ARE EMBODIED 
IN THE EXERCISES GIVEN. 



DES MOINl^S, IOWA: 
Geo. a. Miller, Printer and Publisher. 

1888. 






Copyright, 1888, 

by 
R. Anna Morris. 

All rights reserved. 



^1- PREFACE i^ 



nLTHOUGH this little book has been designed chiefly 
y^ with the temporary purpose of aiding the teachers and 
author in carrying on the work of Physical Culture in 
the pubhc schools of Des Moines, yet, should it reach so far 
into the growing interest of the subject, as to be taken into 
homes and other schools, we crave for it a kind consideration 
and careful study. 

We recognize the fact, that without the living teacher it is 
an exceedingly difiicult task to comprehend and assuredly 
execute exercises in physical culture; therefore we have 
endeavored to make this a practical text book for the learner, 
with lessons simple, concise and clearly enough stated, to be 
understood and practiced with good results even by one 
untrained in the subject. 

The lessons in free gymnastics are based on the Delsartian 
principles as taught by Mrs. A. C. Gunter, nee Etta L. Burns, 
Mrs. Henrietta Crane Russel and Genevieve Stebbins, they 
are calculated to produce graceful strength, and are the out- 
growth of nearly two years experience in practically adapting 
the exercises to the grades and conveniences of the seated 
school-room. 

Many of the movements and some of the series with 
apparatus are used by the permission of Dr. W. G. Anderson, 
President of the ":N^ormal School for Physical Training,'' 
Brooklyn, I^. Y.; from which school the author is a graduate. 

That these lessons may hasten the introduction of Physical 
Training into the public schools, be helpful to our fellow 
teachers who have so earnestly and courteously supported 
us in the work, discipline, strengthen and give grace to the 
bodies of the children is the earnest hope of 

THE AUTHOR. 

Des Moines, Iowa, December, 1888. 

(5) 



• QUOTKXIONS 



Delsarte says:— The three principles of our being, life, 
the sensitive state; mind, the intellectual state; and soul, 
the moral state, form a trinity, the elements of which, though 
distinctive, cannot be separated; they interpenetrate, inter- 
lace, correspond with, and embrace each other and must, 
each and all, be harmoniously cultivated to reach the best 
possibilities of human existance. 

'• A perfect body makes a chariot in which a heroic soul 
may well be proud to ride." 

Henry Ward Beecher. 

"An education to be complete must be three-fold; mental, 
moral and physical. Each is of equal importance." 

. Mrs. L. M. Wilson, 
Superintendent of Public Schools, West Bes Moines, Iowa. 

" The body is not an end in itself but must be trained to be 
the'able and obedient servant of the mind; then it becomes 
a thing of power and dignity." 

W. W. Parsons, 
President of the Indiana State Normal School. 

" The public demand is sure and steadfast and we who 
teach must cross the Kubicon of prejudice and ignorance and 
enter into the Italy of Physical Culture." 

H. H. Seerley, 
President of Iowa State Normal School. 



(6) 



•CONXENTSf 

PAGE. 

Peeliminaey Suggestions 9 

General Positions and Drills 11 

Terms Explained 17 

Class Drill 17 

Order of Opening a Lesson 18 

Order of Closing a Lesson 18 

Delsarte Gymnastics 18 

The Decomposing Exercises 19 

Harmonic Poise 24 

Walking 26 

Feather Movements 28 

Graded Section 33 

First Division 33 

Second Division 38 

Third Division 42 

Fourth Division 46 

Marching 51 

Fancy Steps 57 

Wands i 59 

Clubs 66 

Fencing 70 

Postures 74 

Bowing 79 

Outline for a Reading Lesson 83 

Declamation 87 

School Course or Practice 90 



IjFeliffiinaF\^ guggestiong, 



Let the "Physical Exercises" have an appointed 
time and be certainly carried ont. Perform each 
movement with the utmost precision. 

The temperature of the room while exercising 
should be from 65 to 68 degrees. It is best to seat 
the pupils with the shortest in front. 

Pure air and good position of body, especially of 
the chest, are the first requisites in physical training. 

Breathe deeply and master the diaphram and waist 
muscles. 

■ In standing, bear the weight principally upon the 
balls of the feet, inclining the body slightly forward 
from the hips. In all attitudes the toes turn out, 
but to throw one hip out at the side or to push both 
hips forward indicates coarseness. 

The muscles should be carefully and gradually 
stretched, not suddenly and violently jerked. 

The pupil most easily tired by these exercises is 
the one who most needs them. Great care should be 
used with such a pupil at first. 

All exercises intended to strengthen and to give 
grace and power to the muscular system should be 
taken in a costume which will not impede or inter- 
fere with the free movement of any member of the 

(9) 



10 PHYSICAL CULTURE. 

body. The girls sliould be influenced to wear jersey 
or blonse waists, or princess dresses hanging from 
the shoulders. 

It is highly essential that the teacher of the 
school should learn to execute the movements. Dr. 
Seaver, of Yale, says: "Show firmness and decis- 
ion in conducting the exercises ; it is no condescen- 
sion to correct a fault, point out errors and win 
thanks in strong, pleasant ways." Keep the pupils 
cheerful, interested and earnest while exercising. 

To bring about the most gratifying results, at 
least from fifteen to twenty minutes must be spent in 
the regular daily practice; while in the meantime 
the pupils and teacher should keep a close vigil over 
their carriage, movements and positions, introducing 
as far as possible the teachings of the lessons in 
Physical Culture into the regular routine of every 
day work. 

- Whenever the pupils are required to pass in line 
to and from the room, or on the stairs, it should be 
done as a practical walking lesson; each pupil keep- 
ing his "distance" (which is about the measure of 
his arm, in front of him) and carrying himself in 
an erect, graceful manner. 



GENERAL POSITIONS AND DRILLS. 11 

QeneFal Positions .^ ©rill^. 



The first eight numbers are to be pradiced sepa- 
rately until they can be promptly and exactly taken. 
These exercises are incorporated in the lessons for 
all grades. 

I. — First Position, Sitting. 

1. Feet on floor, side by side, toes turned out. 

2. Body well back in seat and erect. 

3. Hands folded on edge of desk, left over right. 

4. Chest up. 

5. Shoulders falling equally level. 

6. Eyes to the front. 

7. Mouth closed. 

II. — Eest Position, Sitting. 

1. Slide left foot forward and right foot back ; let 
hands drop into lap ; rest the back against the seat. 

III. ElSING INTO THE AlSLE. 

1. Slide to the edge of the seat, keep first posi- 
tion of body, drop hands into lap. 

2. Place the outside foot in the aisle and rise, 
letting the movement come from the toes upward, 
bring inside foot to the correct relative position for 
standing. 

3. Line into the center of the aisle, even with 
front foot of seat which has been occupied. 



12 PHYSICAL CULTURE. 

(This position makes the lines regular in all di- 
rections and prevents the pupils from striking the 
desk in side movements.) 

Where the space in the front and back of the 
room will admit, the lines across the room may 
move forward and backward from the center, thereby 
placing the pupil two spaces apart or beside each 
alternate seat. 

lY. — FiKST Position, Standing. 

1. Heels near together. 

2. Toes apart at an angle of forty-five degrees. 

3. Knees together and straightened. 

4. Body erect on hips, inclining a little forward. 

5. Arms hanging naturally at side, elbows near 
body. 

6. Chest up; shoulders level. 

7. Eyes to the front; mouth closed. 

8. Weight on balls of feet. Position fT-ee from 
restraint. 

Y. — Test Position. 

1. Hands on hips, fingers forward. 

2. See toes by bending forward at the neck and 
if necessary back at the hips. 

3. Drop hands at side. 

4. Raise head and chest. 

YI. — Eest Position, Standing. 
1. *rold arms forward; step right foot back- 
*Tlie arms may be dropped in front with liands clasped. 



GENERAL POSITIONS AND DRILLS. 13 

ward, resting the weight principally upon it. Cliest 
up ; shoulders level ; head poised over the strong or 
right foot. 

YII. — Sitting Down. 

1. Step near desk. 

2. Place the inside foot under the desk and sink 
gracefully into the seat. 

3. Rest position, sitting. 

YIII. — Setting Chest. 

1. Place the right hand on the waist line in 
front, the left above it. 

2. By muscular action of the waist and abdom- 
nial muscles raise the chest, as the hands are drawn 
backward and apart as far as possible. 

3. Let the hands come forw: id and relax 
muscles. Repeat four times, dropping hands from 
the sides. 

IX.— CHEST EXPANSION. 

Make as much room as possible for fresh air by 
expanding the chest, as well as the costal and abdom- 
nial muscles. The condition of the chest with relaxed 
muscles is passive — the active condition is that 
assumed in standing with chest raised and expanded. 

First Exercise — While standing, practice chang- 
ing from passive to active chest, by muscular action, 
without moving the shoulders or breathing; let the 
movement begin from within and expand outward; 
contract by the same law. 



14 PHYSICAL CULTURE. 

Second Exercise — Assume the standing position, 
bend the arms, placing them vertically and parallel 
with each other, palms outward, clench hands as 
high as shoulders, then raise chest and take a full 
breath, hold it while you bring the arms forward 
opening hands and turning palms in, touch little 
fingers and elbows together, if you can; draw them 
back to first position, pulling downward and back- 
ward strongly, then give out the breath ; with practice 
the motion can be taken twice on one breath. 

X.— BEEATHING. 

The first position standing will be used as the 
fundamental position while breathing. 

Explain the physiology of the chest — the action of 
the diaphram, waist muscles and lungs. For the 
first month take these exercises sitting ; bend forward 
at the hips and relax waist muscles before inhaling 
and straighten up during exhalation; this position 
is discontinued as soon as the correct expansion and 
contraction of the costal and abdominal muscles can 
be controlled at will. 

Pupils place hands on waist muscles, at side, 
fingers forward nearly touching; after the correct 
lung and muscular action has been established the 
exercises may be taken with hands hanging at side. 

Teciclier's Signals: Hand up — aHenUon. 
Hand lower — inJiale. 
Hand raise — exhale. 



GENERAL POSITIONS AND DRILLS. 16 

(By this 'posiiion the hand calls more prompt 
attention, and the movements suggests the action of 
the diaphragm in deep breathing. ) 

Begin by counting fen for each inhalation and 
exhalation, increasing the time to ttueiify for primary 
and forty for grammar grades. Do not make any 
visible effort with the chest bnt hold it np and keep 
the shoulders down when breathing; expand the 
waist and rib muscles for inhalation and contract 
them for exhalation. InliaJe through the nose. 

1. Inhale — Exhale-/^ silently, through the nose. 

2. Inhale — Exhale-s/r//< ; open month wide. 

3. Inhale — Exhale-a// ; swell throat open wide. 

4. Inhale — Exhale-s/i; loh. 

*5. Inhale — Exhale. Blow Bngle Note. Practice 
tunes. 

6. Inhale — Exhale-o/i, swelling the tone in the 
middle. 

7. Inhale — Exhale, scale smoothly on ah and oJi. 

8. Inhale — Hold; raise elbows, shoulder high 
and tap upon the chest with fingers ; exhale. 

*The Bugle Note contains no sound of voice or whistle, 
but is a vibrating bugle sound made by expelling the breath, 
with a strong action of the waist muscles and diaphragm, 
from the bottom of the lungs directly to the lips, which are 
protruded as in giving sit with the soft, inner muscles closely 
drawn together, as in giving w ; the inner part of the lips 
vibrates with the outgoing breath and produces the note. 
This note is an excellent test for deep breathing and gives 
the lips a practice which aids in articulation and the placing 
of words when speaking. 



16 PHYSICAL CULTURE. 

9. Inhale — Hold; tap with finger tips upon the 
back of the one in front while he leans forward; 
exhale. 

10. Inhale — Hold; tap with finger tips upon 
the sides of the one in front while his hands are 
clasped oyer his head; exhale. 

11. Panting; take a full breath and throw it out 
sounding h successively, several times. 

12. Click the vocal chords, take a full breath, 
throw the head back, mouth open, and let the breath 
pass out clicking the vocal chords. This is very 
restful to a tired voice. 

XL— MANUAL OF ARMS. 

Move promptly on the word Anns. 

1. Fold arms — in front. 

2. Extend arms — at side palms down. 

3. Support arms — hands clasped back of head. 

4. Advance arms — -extend in front, palms up. 

5. Reverse arms — folded back. 

6. Raise arms — vertical over head. 

7. Carry arms — cross hands on chest. 

8. Shoulder arms — upper arm horizontal at side, 
fingers on shoulders. 

9. Cross arms— fore arms crossed over head. - 

10. Present arms — crossed arms in front, shoulder 
high. 

11. Rest arms — hands on hips. 

. 12. Secure arms — clasp hands in front. 



CLASS DRILLS. 17 

TEEMS EXPLAINED. 

A step is the length of tlie foot of the person 
stepping. A charge is tivice the length of a sfep. 
A /?/7i^e (see fencing) is a double charge. In 
sioaying the weight is changed from one foot to the 
other by bending and straightening the knees, while 
the feet are kept in place. 



(gla§§ ©rill, 



In conducting the exercises while the order and 
moves of the lessons are being learned, observe the 
following instructions : 

First. The teacher calls and until no longer nec- 
essary explains the movements, the pupils the while 
keeping first position and giving perfect attention. 

Second. The teacher says '' Move,^^ or if it is 
measured execution she counts; the pupils may also 
count, while the school led by the teacher or drilled 
pupil executes the call. 

Third. The teacher says "/S/o^)," or she ends the 
count; and the pupils take first position, keeping it 
until a change is called. 

When the order and moves have become familiar 
the explanations and oral counts should be discon- 
tinued, the exercises thereafter beginning by signals. 
During the practice the pupils must keep silent time 
with the leader, who shoidd not blunder nor heri^cde. 



18 PHYSICAL CULTURE. 

Music should be used when possible ; the rythm and 
concord of movement is more easily kept to har- 
monious time. A familiar tune hummed in good time 
or a French harp played by willing boys makes a 
pretty accompaniment, and can be furnished by 
almost any school. 

To cultivate attention and brighten the work, the 
teacher should sometimes surprise the pupils by call- 
ing or leading the movements irregularly; but the 
ultimate aim is to have the pupils so thoroughly 
master the graded lessons, postures and movements 
with apparatus as to be able to give them in the 
regular order of succession with correct time and 
counts. 

OEDEE OF OPENING A LESSON. 

At the call — Attention ! Gymnastics ! 

(a). The pupils take "First position in seat," 
while the instructed monitors act promptly in raising 
at least two, and lowering all the windows. When 
the exercise is given by counts or to music, count 
one measure before rising. 

(5). By counts the pupils rise, and test position. 

(c). Begin the regular lesson. 

OEDEE OF CLOSING A LESSON. . 

(a). Test — set chest— breathing exercise. 
(6). Position rest; standing while the monitors 
close the windows. 

(c). Sit by counts — takes "position rest sitting." 



DELSARTE GYMNASTICS. 19 

©el§arte gymnastics. 



These exercises lay the foundation of the graded 
lessons, gestures and postures which follow, and must 
be faithfully practiced by all except the ^7's/ and 
second grades, for at least four months before be- 
ginning the other work. For the grades excepted, 
only the movements selected and included in the 
graded lessons will be required, in tJie course. 

A careful review expected in the eighth grade. 

THE DECOMPOSING EXEECISES. 

In training the body there are two difficulties, 
rigidity and weakness, to overcome. 

Recognizing this fact, the Delsarte System first 
aims to attain a perfect flexibility of every movable 
joint in the body, and free the organs of expression 
from stiffness and sluggishness. This is done by a 
faithful practice of the Decomposing Exercises, 

ORDEE OF PRACTICE. 

Firsf Position Standing. 

Where corresponding parts of the body are to be 
moved, exercise first the rigid, then the left, and if 
possible both together. 

I. FiNGEES. 

1. Shake from the knuckles. 

2. Knead; palms up, palms down. 



20 PHYSICAL CULTURE. 

II. — Hands and Weists. 

1. In and out. 

2. Up and down. 

3. Sidewise. 

4. Rotate. 

III. — Elbows and Fokeaems. 

1. Throw forward. 

2. Twist forearm. 

ly. — Aems and Shouldees. 

1. Raise and drop arms. 

2. Rotate shoulders. 

3. Shrug shoulders. 

* v.— Head. 

1. Roll right. 

2. Roll left. 

*YI.— Body. 

1. DrojD right, and up. 

2. Drop left, and up. 

3. Drop front, and up. 

4. Drop back, and up. 

YIL — Hips and Knees. 

1. ReyolYe. 

2. Swing. 

3. Paw. 

YIII. — Ankles. 
1. Bend toes up and down. 
*Move slowly. 



DELSARTE GYMNASTICS. 21 

IX. — Entiee Leg. 
1. Shake vigorously. 

*X. — Eyelids and Lower Jaw. 
1. Drop and raise. 

MOVEMENTS EXPLAINED. 

I.— ElNGERS. 

Elbows bent, hands up in front of chest. 

1. Let fingers drop limp, from the knuckles ; in 
that condition shake them by a vigorous movement 
of the forearm and wrist. 

2. Knead the hands, palms up, palms down, in 
this exercise the fingers are shut well over the palms 
and opened by a succession of movements, joint after 
joint. 

II. — Hands and Wrists. 

Let the hand fall limp, arm straight, move from 
shoulder; shake upon the wrist so rapidly that the 
separate fingers are not visible. 

1. — In and out — palms in. 

2. — Up and down — palms down. 

3. — -"Sidewise — palms down. 

4. — Rotary shake — inward and outward. 

III. — Elbows and Forearms. 

1. Bring the back of the hand up to chest, elbow 
near side, throw out arm so violently that a jerk is 
felt at the elbow. Take coarseness and self assertion 

* Move slowly. 



22 PHYSICAL CULTURE. 

ont of the elbow and it becomes the representative of 
grace and affection. 

2. Without moving shoulder or wrist joints twist 
the forearms pointing thumbs forward and back. 

IV. — Shoulders. 

1. Raise the arm above the head and withdraw 
the power and it will drop lifelessly at the side. 

2. Rotate the shoulder back and around. 

3. Let the arms fall limp from the shoulders ; put 
strength in the chest and twist the body right and 
left and they will swing around it like ropes. Keep 
the feet firmly on the floor. 

v.— Head. 

1. Drop the head forward as low as possible ; roll 
it very slowly to the right and around. 
-2. Reverse. 

YI.— Body. 

1. Drop body to the right side by involution of 
movement, let the action commence at the eyes, the 
head will drop and draw the shoulders and so on by 
degrees the body falls decomposed to the hips. To 
raise the body by evolution of movement let the 
action begin at the hips and follow upward until the 
head rises and the eyes open. 

2. Same to the left. 3. Same to the front; 
4. Same to the back. 



DELSARTE GYMNASTICS. 23 

YII. — Hips and Knees. 

Position — Hands on hips, fingers forward. Keep 
body well balanced. 

1. Stand on one foot, revolve the other abont it. 

2. Swing from hip, forward and back. 

3. Raise the foot, bend knees forward hip high, 
then stretch the leg, pawing backward as far as pos- 
sible, keeping head and chest np and the other foot 
firmly on the floor. Until strength is gained let the 
foot come to the floor after each stretch. 

YIII. — Ankles. 

Same position. Raise the foot from the floor; 
bend toes up and down with ankle movement. 

IX. — Entike Leg. 

Same position. Stand on one foot shake the other 
vigorously. 

X. — Eyelids and Lower Jaw. 

Let the eyelids close giving up, as if losing con- 
sciousness ; drop the lower jaw and let the head fall 
decomposed to one side. 



24 PHYSICAL CULTURE. 



"Harmony originates in contrast, and from it 
comes equilibrium." 

In order to gain steadiness of body and grace of 
movement, one should practice posing on the toes, 
and changing the weight on the feet keeping the 
head and chest over, or in sympathy with the placing 
of the weight or of the strong leg in accordance with 
the law of opposlfion. This slightly inclines the 
body at the waist and hips in an opposite direction 
from the head and legs, which preserves the three 
curves of form or Vnie of beaiiiy, viz: two convex 
curves formed by head and legs, joined by a concave 
one formed by the body. 

OKDEE OF PEACTICE. 

(If music is used, slow march time is best.) 
Begin all exercises from the First Position and 
finish with the same. 

Make the changes very slowly, observing all the 
while continuous movement and the law of opposi- 
tion. Much depends on the control of the waist 
muscles. 

1. Rise on toes. 

2. Right foot advanced; rise, change weight 
front, and back. 

3. Left foot advanced ; rise, change weight front, 
and back. 



HARMONIC POISE. 25 

*4. Change weight fi'om balls to heels ; reverse. 

5. Change weight from right to left foot ; reverse. 

6. Incline head right, body left; reverse. 

7. Rotate head right, body left; reverse. 

First Exercise — Stand in " First Position," weight 
principally upon the balls of the feet ; head and chest 
up ; hips back. Rise as high as possible on both toes 
then sink back into position. Repeat several times. 

Second Exercise — Advance the right foot about its 
length then rise high on both toes, settle the weight 
on advanced foot keeping up back heel ; rise again on 
toes and change weight to back foot keeping up 
front heel and so continue to alternate. 

Third Exercise — ^ Advance the left foot and repeat 
second exercise. 

Fourth Exercise — Without raising the toes or 
heels from the floor, sway the body, changing the 
weight until it comes entirely on the balls, then back 
on heels, and continue to alternate. 

Fifth Exercise — Without raising feet change the 
weight to the right foot then to the left, and so 
alternate. 

Sixth Exercise — Incline the head obliquely for- 
ward to the right and body obliquely to the left. 
Reverse. 

Seventh Exercise — Weight on both feet, rotate 
the body at waist line to the right, and head to the 
left. Reverse. 

*In last four numbers the feet are not raised from floor. 



26 PHYSICAL CULTURE. 

>^ Walkings 



The subject of walking, aside from a standpoint of 
health, is a matter of much importance. The impres- 
sions we derive from seeing people walk are not 
without their significance. 

In order to practice with accuracy, it is necessary 
to have a heel line painted in the center through the 
length of the aisles. 

Place the feet on each side of this line, heels 
touching toes at proper angle. 

PEEPAKATOEY PEACTICE. 

(Waltz Time.) 

FORWAED. 

1. Touch the left toe forward. 

2. Eise on both toes, supporting the weight of 
body equally on both. 

3. Settle on advanced foot, smoothly and strongly 
carrying the head and body forward in harmony. 
(Never allow the heel to come down with a thud, 
jarring the spine.) 

Eepeat this exercise with the other foot, and con- 
tinue to advance as many steps as the space will 
allow, then bring feet together side by side. 

Backward. 
Without turning around step backward to places 
following the same order of counts. 



WALKING. 27 

1. Touch toe back. 

2. Rise on both toes. 

3. Settle on retired foot. 

After this exercise has been faithfully drilled 
upon, practical walking will naturally and correctly 
follow. 

Advance the foot touching ball first and carrying 
the body forward with a strong, smooth spring, 
chiefly by the action of the thigh, until the entire 
foot bears the weight ; the head, body and shoulders 
swaying in sympathy and harmony. The back thigh 
sinks slowly in at the joint as the weight is trans- 
ferred forward. 

Practice walking until the pupils are able to move 
backward and forward through the aisle, keeping toes 
at correct angle and heels each side of the line without 
effort, then line around the room. 

Remember to place the foot down, ball first. "Heel 
first, indicates neither grace nor power. To preserve 
dignity and prevent the impression that you are fickle 
and vaccinating,, beware of your heel liney 

For home practice choose a seam in the carpet, if 
convenient; one extending in front of a large mirror, 
watch your steps and see that you are able to walk 
easily swinging the leg from the thigh in such a 
manner that with each step your heels touch the 
seam and your toes turn out properly, keep chest up, 
chin slightly in and arms at side. 



28 PHYSICAL CULTURE. 



These gracefnl floating movements easily and 
naturally follow the "Decomposing Exercises," prac- 
ticed in all grades, and are based on the law of 
succession, viz: — 

"Movement begins at the vital parts or at a given 
center and continues in successive waves until it passes 
off at the extremities." 

While practicing these exercises stand well poised 
but do not hold the head stiff ; it should rise and sink 
slightly in opposition with the hand movements — 
"every movement of the hand has responsive move- 
ment in the head." 

For practice take each movement three times. 

Use waltz time, counting two measures to each 
move. 

- All the moves finish by floating the hands, palms 
downward, to position at side. 

The front side and oblique may be combined with 
the Poise. 

OKDEK OF PEACTIOE. 

I. Front movement — three times. 

II. Side movement — three times. 

III. Horizontal movement — three times. 

ly. Oblique, right, left — three times each. 

Y. Serpentine; right, left and both, three times 
each. 



THE FEATHER MOVEMENTS EXPLAINED. 29 

YI. Spiral; right, left and both, three times 
each. 

YII. Giving ; limited, broad, elevated, once each ; 
repeat set three times. 



JVIoVements Explained. 



FEONT MOVEMENT. 

By putting strength in the chest and shoulders 
raise the arms, elbows straight, palms down, np in 
front of the body about forty-five degrees above level, 
letting the hands hang limp. (In all of these move- 
ments the hands never lead, but follow after.) To 
draw the hands downward, force begins in the chest 
and passes joint by joint, muscle by muscle, success- 
ively down the arms, unfolding them and floating the 
hands' through the air as feathers ; finally expanding 
the hands and passing off at finger tips. 

SIDE MOVEMENT. 

From the front movement let the hands fall 
smoothly at the side, from where they are raised and 
lowered in the same manner and to the same angle 
as in the front movement. 



30 PHYSICAL CULTURE. 

HOEIZONTAL MOVEMENT. 

Eaise the arms, elbows straight, palms down, to 
shoulder level at side, then turn palms inward and 
bring them together and back to side horizontal; ob- 
serve the same law of action as in the front move- 
ment ; finish by turning palms downward and floating 
hands to side. 

OBLIQUE MOVEMENT. 

EIGHT OBLIQUE. 

Raise arms, elbows straight, palms down, to 
shoulder level in front, then face palms, and draw 
hands near chest by bending elbows outward and 
downward; from this position stretch strongly, un- 
folding right arm obliquely right and up, at the same 
time stretching left arm obliquely left and down. 
Bring straight arms back to shoulder level front, and 
finish by turning palms downward and floating hands 
to side. 

LEFT OBLIQUE. 

The reverse of right oblique. 

SERPENTINE MOVEMENT. 

Raise the right arm, elbow straight, palm down, to 
shoulder level at side. By a movement of the mus- 
cles of the shoulder and upper arm and a bending 
and bringing forward of the elbow the hand is 
brought over the shoulder, thumb down, and fingers 
hanging obliquely toward the right ; now bend the 



THE FEATHER MOVEMENTS EXPLAINED. 31 

elbow farther front and downward almost to side, then 
twist the forearm out straight, raising the elbow and 
expanding the hand out at shoulder level. 

As the right hand finishes and comes to side raise 
the left to shoulder level and with it execute the 
movement; after which hold the left in position and 
bring the right up even with it, then perform a 
double movement by exercising both arms at the 
same time. 

SPIEAL MOVEMENT. 

The spiral movement is several repetitions of the 
serpentine movement, each time taken from a higher 
position at the side. 

The move is smooth and continuous, suggestive of 
its name, and expresses mystic revelation. Three 
positions make a pretty movement. The order of 
exercise and change is the same as for the serpentine 
movement. 

GIVING OR UNFOLDING MOVEMENT. 

THE LIMITED GIVING. 

The elbows are bent and finger tips brought to 
chest, palms in. As the elbows are raised the fore- 
arms extend and hands expand about waist high. 
The hands are held forward in the attitude of pre- 
senting a gift to one person, palms up, fingers near 
together. (Do not hold the gift back with your 
thumb, or let it fall through spread fingers). 



32 PHYSICAL CULTURE. 



THE BEOAD GIVING. 



This movement unfolds the same as the one before, 
only that the hands are expanded farther apart, which 
makes the gesture more generous, including all; the 
eye must glance from side to side encompassing all 
within the scope of the hands. 

THE ELEVATED GIVING. 

This signifies the giving of faith or the asking for 
divine aid and is made by unfolding the arms up- 
ward, hands held as to receive, about forty-five de- 
fifrees above level. 



GRADED SECTIONS. 33 

Qraded Sections. 



FouK Divisions. 



FIEST DIVISION. 

First and Second Grades. 

Sitting positions. Marcli time, 8 counts to each 
number. 

FiKST Series. 

1. Clap hands to time, through two measures, 
right hand uppermost on .first measure, and left 
above on the second measure. 

2. Back of hands near chest, open and close 
fingers as in kneading. (See "Decomposing Exer- 
cises.") 

3. Alternate raising right and left hand over 
head. Let the movements be in succession, 1, 2, 
up ; 3, 4, down, and so continue. 

4. Raise both hands at same time. 

5. Hands on hips. Bend body forward and back, 
moving only at hips, 1, 2, forward; 3, 4, back, and 
so continue. 

6. Hands on edge of desk, right over left, lower 
and raise head slowdy, 1, 2, 3, 4, down; 5, 6, 7, 8, up. 

7. Forearms vertical, palms facing; 1, bring 
hands together; 2, stretch back, pulling strongly 
across the chest, and bringing the elbows down near 
the side, and so continue. 



34 PHYSICAL CULTURE. 

8. Fold arms front, count eight. 

9. Raise and lower both heels. 

10. Cross right foot over left, keeping left foot 
in place. 

11. Cross left foot over right, keeping right foot 
in place. 

Breathing, 1, 2, 3. 

Second Series. 

1. 1, 2, 3, 4, Rise. 5, 6, 7, 8, Test Position. 

2. Hands at side, rise on toes. 1, up ; 2, down, 
etc. 

3. Slowly raise hands at side and clasp them 
back of head, and stretch through the measure. 

4. Slowly and strongly bring them to parallel 
down in front. 

5. Shake the hands up and down; in and out. 

6. Raise and drop shoulder, 1, up; 2, down, and 
so continue. 

7. Decompose the head, roll it front, right, back, 
left; front and reverse. 

8. Slap hands front and back, arms straight, on 
eighth count bring hands to side. 

9. Hands on hips, raise left foot back, bend at 
knee only, bring the foot back in place touching- ball 
down. 1, up; 2, down, etc. 

10. Right, the same. 

11. Alternate, 9 and 10 continue faster into a 
run on the toes,' lining around the room, the same 



GRADED SECTIONS. 35 

as in marching; until the pupils are well drilled, 
have only one row run at a time. 

12. Test - Set Chest 

13. Breathing, 1, 2, 3, (see General Drills,) 
three times each. 

14. Sit. Best position. 

Third Seeies. 
See Feather Movement. Take each movement once. 
First position standing. 

Front Feather Movement: — 1, right hand; 2, left 
hand; 3, both hands; 4, both hands, with the first 
poise. 

Side Feather Movement. — 1, right hand; 2, left 
hand; 3, both hands; 4, both hands with the first 
poise. 

Horizontal Feather Movement. — 1, right hand; 
2, left hand; 3, both hands; 4, both hands, with the 
first poise. 

Combined Feather Movement. — (Make the changes 
smoothly.) — 1, both hands front, and first poise; 
2, both hands side, and first poise; 3, both hands 
horizontal, and first poise. 

Repeat. 

Bi'eaniing, 4, 5. (See Breathing.) 



36 physical culture. 

Fourth Series. 

First position standing. Four counts to each 
number ; one count for the move and one for the po- 
sition. 

1. Twist head to the right and back to front. 

2. Twist head to the left and back to front. 

3. Right hand touch left shoulder, back to place. 

4. Left hand touch right shoulder, back to place. 

5. Alternate 3 and 4. 

6. Both halids move at same time, each hand 
touching opposite shoulder, back to place. 

7. Hands on hips, from waist twist body right 
and back to front. 

8. Twist body left the same. 

9. Hands at side, step right foot forward and 
back; rise on toes. 

10. Step the left foot forward and back; rise on 
toes. 

11. Step the right foot backward and to place; 
rise on toes. 

12. Step the left foot backward and to place ; rise 
on toes. 

13. Clasp hands and charge right foot forward; 
raise arms in a circle over head; bring foot back to 
position; arms at side. 

14. Clasp hands; charge the left foot forward; 
raise arms in a circle over head; bring foot back to 
position; arms at side. 

15. Raise right arm shoulder high in front. 



GRADED SECTIONS. 37 

palm down; swing to horizontal at side; back to 
front; down in place. 

16. Take the same exercise with left hand. 

17. Take the same exercise with both hands. 

18. Fold arms; face right; face front; drop arms. 

19. Same to left. 

Breathing. — Review previous practice and take in 
addition No. 6. 

PRIMARY GAMES. 
The Race. 

It adds much to the interest of the exercises if 
pleasing, exciting recreation-s be occasionally intro- 
duced. The ivalking or r mining race will greatly 
delight the little children, and can be given on the 
lower floor without annoyance to other rooms. 

At one end of the room place two objects on a 
table or inside of chalked rings on the floor ; at the 
other end put on the floor foe-mctrks, the right about 
twelve inches in front and six inches to the right of 
the left. The contestants in the attitude of the 
runner, right foot forward, knee bent, left leg straight, 
chest up, hands at side, start at the word go and 
make the run bringing back the objects. (They 
also make the run to return the objects. ) The idea 
is to see which one can get back into correct starting 
position first. Let the school decide the best two 
out of three runs. If the room will allow, several 
pupils may run at the same time. It adds interest 
to put bean bags on the heads. 



38 physical culture. 

Passing Dumbells or Bean Bags. 

Form two columns (it may be by choosing sides) 
at the head of each on the floor, chair or table, 
place a certain number of objects, as they are passed 
toward the foot, each pupil catches them with the 
hand toward the foot and vice versa. The game will 
be won by the side which succeeds in passing their 
objects down and back first to the original position at 
the head of column. 

The Tug of War. 

Take an inch and a quarter rope about ten feet 
long; select an equal number of children to catch 
each end, arranging the strongest toward the ends ; at 
the word puM they exert their strength, each side 
trying to bring the other beyond a certain chalk mark 
on the floor; the teacher will keep time by his watch 
and call haU at the expiration of a stated time, (one, 
two or three minutes. ) 

SECOND DIVISION. 

Third and Fourili Grades. 

First Series. 

March time, eight counts to each number. 
1, 2, 3, 4, Rise; 5, 6, 7, 8, Tesi. 

1. Shake the hands in and out, keeping elbows 
straight, palms in. 

2. Shake the hands up and down, keeping elbows 
straight, palms down. 



GRADED SECTIONS. 39 

3. 1st, bend elbows, bringing palms front; 2d, 
throw tlie forearms forward, palms down, continue 
through the move. 

4. Shrug the shoulders from right to left, twist- 
ing at the waist; let the impulse carry the arms 
around the body, as ropes would fall. Keep the feet 
firmly on the floor ; 1, 2, right ; 3, 4, left, etc. Face 
front on 7, 8. 

5. Shake the shoulders up and down. 1, up; 2, 
down, etc. 

6. Shake both entire arms from the shoulders; 
raise the upper arms shoulder high, let the hands 
hang limp in front of body, by a strong shoulder 
movement, fling the hands downward. 

7. Roll the head smoothly and slowly front, 
right, back, left; front and reverse. 

8. Front feather movement three times (see 
Feather Movements). 1, 2, 3, 4, up; 5, 6, 7, 8, 
down, etc. 

9. Side feather movement, three times (see 
Feather Movements). 

10. Horizontal feather movement three times 
(see Feather Movements). 

11. Poise on both toes four times, rise slowly 
and strongly on 1, 2, 3, 4. Come down on 5, 6, 7, 8. 

12. Advance right foot bending right knee ; at 
the same time curve left hand over head, palm out, 
look up. Analysis^ on the first count step right 
foot forward and raise left arm shoulder high at 



40 PHYSICAL CULTURE. 

side ; on the second count bend right knee and curve 
left hand over head; for third count same position 
a,s first count; fourth count back in place. Repeat. 

13. The same with left foot and right hand. 

14. The same with right foot and both hands. 

15. The same with left foot and both hands. 

16. Test Set Chest. . 

17. Breathing, 1, 2, 3, 4, 5, (see Breathing,) 
practice each four times. 

18. Rest position standing. 

19. Sit. Rest position sitting. 

Second Series. 

Count four for each number. 
First position standing. Test. 

1. Eaise right arm straight, shoulder high front, 
palm down ; swing it to side shoulder high ; back to 
front; down at side. 

2. Left hand the same. 

3. Both hands the same. 

4. Right shoulder, raise and drop. 

5. Left the same. 

6. Both the same. 

7. Body; bend right; twist right, (at the waist). 

8. To the left the same. 

9. Body, bend front and back. 

10. Fold arms back, step right foot forward and 
back in place ; rise on toes. 

11. Left the same. 



GRADED SECTIONS. 41 

12. Step right foot backward and forward in 
place, rise on toes. 

13. Left the same. 

14. Arms folded, charge right foot forward. — 
Sway. 

15. Left the same. 

16. Alternate 14 and 15. 

17. Right and left Feather Movements — (three 
times each). 

18. Right obliqne Feather Movement, with 
second poise. 

19. Left oblique Feather Movement, with third 
poise. 

20. Side Feather Movement, with first poise. 
Brecdliing, 6, 7. (See Breathing). 

Third Seeies. 

1. Fold arms forward ; step right foot diagonally 
front; bring foot back to place; drop arms at side. 

2. Same with left foot. 

3. The same stepping right foot back. 

4. The same stepping left foot back. 

5. Arms at side, step right foot front and back 
to place ; side and back to place ; back and to place ; 
cross over in front, and back to place. 

6. Left the same. 

7. Alternate each move. 

8. Step right foot forward; fold arms front. — 
Sway. 



42 PHYSICAL CULTURE. 

9. Left the same. 

10. Hands on liips ; twist body riglit ; twist body 
front; drop hands. 

11. Same to the left. 

12. Right arm raised at side shoulder high, palm 
down; bring to front; back to side; down in place. 

13. Left the same. 

14. Both the same. 

15. Twist head to right. 

16. Twist head to left. 

17. Raise the chin and draw it back. 
Breathing, review previous practice. 

THIRD DIVISION. 

Fifth and Sixth Grades. 

First Series. 

March time, eight connts to each number. 
,1, 2, 3, 4, Rise; 5, 6, 7, 8, Test position. 
(For the first eight moves see Decomposing Exer- 
cises. ) 

1. Shake fingers from knuckles. 

2. Knead hands, palms up. * 

3. Knead hands, palms down. 

4. Shake hands sidewise. 

5. Rotate the hands inward, outward, eight 
counts each. 

6. Hands on hips, fingers forward. Decompose 
hips and knees. 



GRADED SECTIONS. 43 

7. Shake the hands up and down. 

8. Decompose the body, drop it right, eight 
counts down, eight up. Drop it left, eight counts 
down, eight up. Drop it front, eight counts down, 
eight up. Drop it back, four counts down, four up. 

9. Step right foot diagonally forward, about 
twelve inches. Same with left. Alternate. 

10. Step right foot diagonally back. Same with 
left. Alternate. 

11. Step right foot over in front of left, touch 
toe to floor and bring back to position. Same with 
left. Alternate. 

12. Swing the right arm sidewise above the 
head, palm down. Same with left. Same with 
both. (As the hands come down on last count clasp 
them, backs up.) 

13. Step right foot diagonally back and across 
the left, incline body forward in a bow. Same with 
left. 1, 2, bow; 3, 4, come to upright position, 

14. Swing clasped hands over head, and step 
right foot across in front of left, incline the body 
slightly to the right. 1, 2, take the posture; 3, 4, 
come to position. Same with left. 

15. Salute — 

1. Right hand extended diagonally front, 
palm down, look front. 

2. Touch brow, look left, 

3. Come to 1. 

4. Hand at side. 



44 PHYSICAL CULTURE. 

16. Test Set chest 

17. Breathing, 1, 2, 3, 4, 5, 6. (See Breathing.) 

18. Position rest standing. 

19. Sit Rest position. 

Second Series. 

First position standing. Eight counts to each 
number; one count for the move, and one count for 
position. 

1. Cross right foot over in front of left; bring 
back to place. 

2. Left the same. 

3. Alternate. 

4. Cross right foot over touching it left of left 
toe; step forward; raise arms straight over head 
palms front; come back to position. 

5. Cross right foot back of left ; forward to place. 

6. Left the same. 

7. Alternate. 

8. Face right; bend body forward at waist ; raise 
body erect; come to front position. 

9. Face left, etc. 

10. Clasp hands and raise above head; right 
foot forward ; bring foot back to place ; drop hands 
in place. 

11. Same, stepping left foot forward. 

12. Twist the body at waist line, to the right 
and back; extend arms shoulder high front, and 
drop them. 



GRADED SECTIONS. 45 

13. Repeat 12, twisting to the left. 

14. Step right foot forward, fold arms and sway 
body, come to position on the eighth count. 

15. Step left foot forward, etc. 

16. Alternate 14 and 15. 

17. From side raise arms front shoulder high and 
back to place; diagonally front shoulder high and 
back to place; at side shoulder high and back to 
place ; fold arms. ( Change time. ) 

*18. The side Feather Movement (twice). 

19. The horizontal Feather Movement (twice). 

20. The fi'ont Feather Movement and the first 
poise (twice). 

21. The right oblique and the second poise 
(twice). 

22. The left oblique and the third poise (twice). 
Breathing 7, 8, 9. 

Thikd Seeies. 

First position standing. Four counts to all the 
numbers except the postures, which have eight. 

1. Right hand raised front shoulder high, palm 
down swing to side ; back to front, down to place. 

2. Left the same. 

3. Both hands the same. 

4. Right shoulder, raise and drop. 

5. Left the same. 

6. Both the same. 

*See Feather Movement. 



46 PHYSICAL CULTURE. 

7. Alternate 4 and 1. 

8. Alternate 5 and 2. 

9. Body bend riglit, np; left, up; front, up; 
back, np. 

10. Step riglit foot forward and back in place, 
rise on toes. 

11. Left tlie same; rise on toes. 

12. Step right foot out at side ^nd back to place; 
rise on toes. 

13. Step left foot out at side and back to place; 
rise on toes. 

14. Step riglit foot back and forward to place; 
rise on toes. 

15. Step left foot back and forward to place, and 
rise on toes. 

16. Take the six positions (three right and three 
left) of the first posture. (See Postures.) 

Breathing. — Review previous practice. 

FOURTH DIVISION. 

Seventh and Eighth Grades. 

FiEST Seeies. 

Sitting positions. March time, eight counts to 
each number. 

1. First position sitting. Hands on hips, bend 
body forward and back. 1, 2, forward; 3, 4, back. 

2. Elbows at side, forearms vertical, palms fac- 
ing; bring palms together and back, stretching 
across chest and bringing elbows down against side. 



GRADED SECTIONS. 47 

3. Hands on front of desk, left over right, head 
down and up slowly, once. 

4. Same as 3. 

5. 1, 2, bring arms parallel horizontal; 3, bring 
back to position ; 4, out again, etc. 

6. Arms parallel horizontal, palms facing; twist 
thumbs clown, closing fingers, four times. 

7. 1, 2, bring arms to parallel vertical; 3, bring 
to parallel horizontal; 4, back to vertical, etc. 

8. Arms parallel vertical. Open and close 
fingers. 

9. 1, 2, bring arms horizontal at side, palms up; 
3, bring to parallel horizontal; 4, back to horizontal 
at side, etc. 

10. Arms horizontal, palms up, twist thumbs 
down closing fingers; fold arms back. Rest eight 
counts. 

11. Touch the left heel forward even with right 
toe and back, even with right heel. Right the same. 
Alternate. 

12. Step left foot out at side. Right the same. 
Alternate. 

13. Gross left foot over right. Right the same. 
Alternate. 

14. Raise heels. 

15. Raise toes. 

16. Slowly raise hands and clasp back of head; 
eight counts ; elbows forward and back ; eight counts. 



48 PHYSICAL CULTURE. 

17. Extend arms out at side, shoulder high, 
palms up, bring tips of fingers over head (four 
times) ; on the last count come to position for 19. 

18. Swimming motion. Position ; palms together, 
shoulder high in front; 1, 2, extend arms, turning 
palms outward, at same time lean body forward (if 
standing, rise on toes) ; 3, 1, arms describe a lower 
circle and come to position; take exercise three 
times, then bring hands to side. 

19. Manual of arms. (See General Drill.) 

20. Rest position sitting or standing, taken 
twice. 

21. Test. Set chest. 

22. Breathing— 1, 2, 3, 4, 5, 6, 7. (See Gen- 
eral Drills. ) 

(The entire series may be taken standing.) 

Second Seeies. 

First position standing. Count eight to each 
number, 

1. Charge right foot forward; fold arms; raise 
arms out at side; back to position (twice). 

2. Same to the left. 

3. Alternate. 

4. Raise right arm at side, palm front; bring 
hand to left shoulder, keeping upper arm shoulder 
high. 

5. Same with left hand. 

6. Alternate 4 and 5. 



GRADED SECTIONS. 49 

7. Step right foot back; raise left arm curved 
oyer head, palm front (twice). 

8. Step left foot back; raise right arm curved 
over head, palm front. 

9. Alternate. 

10. Same with both hands and right foot. 

11. Same with both hands and left foot. 

12. Step right foot out at side, raise left hand 
shoulder high at side (twice). 

13. Same with left foot. 

14. Alternate. 

15. Same with both hands and right foot. 

16. Same with both hands and left foot. 

17. Baise right hand under right arm. 

18. Same with left. 

19. Alternate. 

20. Raise both hands under arms. 

21. Step right foot forward and back; side and 
back ; backward and to place ; rise on toes. 

22. Same with left foot. 

23. Alternate each foot move, and rise on toes. 

24. Hands on hips and back to place ; hands on 
shoulders and down to place; straighten arms side- 
wise and back to place ; arms folded back and down 
to place. 

Breaihing—8, 9, 10, 11, 12. (See Breathing.) 



50 physical culture. 

Thied Seeies. 

This series shonld be practiced to nmsic; using 
waltz time for the feather movement, and changing 
to march time for the postures. 

Review in order and connectedly, all of the 
Feather Movements, executing each movement once; 
then repeat the set. Immediately following the 
front movement, give it combined with the first 
poise; so also with the side movement. Let the 
right and left oblique movements be followed; first, 
by the right oblique united with the second poise; 
then, by the left oblique united with the third poise. 
The series close with the first five postures. (See 
Postures. ) 

Breathing. Review the previous practice. 



MARCHING. 51 



1. When marcliing is conducted with care and 
exactness, it proves a most cultivating, as well as a 
very fascinating form of gymnastics. In order to 
develop graceful ease of carriage and movement, in 
walking as well as in marching, too much attention 
cannot be paid to the directions for positions of 
head, body and hips as given in Harmonic Poise. 

2. Keep the chest up, hips back, chin slightly 
in, eyes to the front, arms hanging easily at side, 
and thumbs forward, and never drop at the knees or 
drag the feet. 

3. In stepping, turn the toe outward and step 
foot forward, planting it firmly on the ball; as the 
weight is strongly and smoothly transferred to it, 
the heel comes to the floor but rests lightly. 

OEDEE OF PEACTICE. 

(Mark time in place between each change.) 
The pupils rise; test 'position; and stand in first 
position, ready to obey the commands. 

The first part of the command is a call for atten- 
tion; the second part, for execution. 

1. Mark time — mark. (Begin with left foot.) . 

2. Measure distance — measure. 

3. Forward — march. 

4. Backward — march. 



52 PHYSICAL CULTURE. 

5. Eight — face. 

6. Side step — front. Side step — back. 

7. Front — face. ' 

8. Forward — march. (The school -room bow 
may be introduced here.) 

9. Backward — march. 

10. Left — face. 

11. Side step- — to front. 

12. Side step — to back. 

13. Front — face. 

14. Single file, forward. (Around the room.) 

15. Single file, backward. (Around the room.) 

16. Face — inward. 

17. Side step — to the right. 

18. Side step — to the left. 

19. Form twos — up the middle aisles. 

20. Turn — right and left. 

21. Cross oyer — at front (twice).* 
- 22. Cross over — at back (twice).* 

23. Cross oyer — at front and back (once).* 

24. Bow and cross oyer — front; back (once).* 

25. Side — step and back^ — step. 

26. Single file; by commands execute the 
Manual of Arms while marching. 

27. To the seats. 

28. Halt. 

The changes are taken by commands, repeating 

each number as often as desired. 

*In particular changes to bring the pupils to their original 
places a certain number of times is required 



MARCHING. 53 

COMMANDS EXPLAINED. 

Marh time — mark: Begin with the left foot and 
alternately adyance each foot abont half its length, 
bringing it back on the ball first, to position besides 
the other. 

Measure disfance — measure: While still keeping 
time in the aisles the pupils, excepting the first one 
in each row, in the Primary grades, step np and 
place the tips of the fingers on shoulders in front ; 
in tJie higher grades, place the left hand only on 
shoulder in front. Drop hands at side. 

Forward — march : The pupils step forward eight 
steps or as many as the space will allow. In order 
to keep the advancing lines even the pupils may 
catch hands. 

Backioard — march: Step backward with left 
foot first, endeavor to gain the old position, with the 
same number of steps used in going forward. 

JRighf — face: The facings are all executed by 
turning on the left heel; at the same time slightly 
raising the right foot and carrying it around to the 
position besides the left. 

Side step — to front: — Side step — to hack: From 
marking time, swing first the foot toward the front 
out at the side, taking steps toward the front of the 
room ; mark time and side step in the same manner 
toward the back of the room to the original position. 



54 PHYSICAL CULTURE, 

Front — face: Turn on left heel, bringing feet to 
correct front position. 

Left — face: Executed by turning on left heel 
and facing left. 

Side step — to front: — Side step — io hack: Exe- 
cuted the same as from the right face. 

Singte file — fortoaTd around the room: While 
the rest mark time, each pupil in the first row 
marches in common time, forward and across the 
front of the room; then back through the outside 
vacant aisle, the rows in turn following until the 
school is marching in single file around the room. 
The eyes should be directed toward the front and 
the head kept steadily erect. 

In turning a corner make the steps short and 
wheel the body squarely around, stepping forward 
in the new direction, keeping the lines straight. 
Much depends on the self control and exactness of 
the leader. 

Single file — hachward: From marking time, the 
entire line marches backward once around the room. 

Face — inward: From this position, execute side 
step right; side step left. 

Form ttvos — up the middle aisle: At the back 
part of the room, the first couple turns, facing the 
two middle aisles and marches through them to the 



MARCHING. 55 

front; the succeeding twos following in their turn 
until the entire school is formed in a double column 
up the center of the room. 

Turn — right and left: The leader on the right 
turns, to the right, and the one on the left, turns to 
the- left, each leading around in an outside aisle and 
again forming twos up the middle aisle ; the partners 
should keep exactly opposite each other and make 
their facings at the same time ; the floor should be 
marked at the turning points and the pupils required 
to turn squarely around on corners. 

Cross over — at front: The leader on the left 
will step back and to the right, swinging his partner 
in front of him ; thus crossing over they lead around 
the room. 

Cross over — at the hactc: Partners pass each 
other before coming up aisles. 

Boio and cross over — front; and hack: Before 
crossing over at the front of the room the partners 
pause and bow to each other. In the primary grades 
the pupils may catch hands as they form twos up the 
aisles, and after bowing, the one on the left will swing 
his partner in front of him before they drop hands 
and cross over. 

Side step and haclc step: At the head of the 
double column, the pupils keep their faces to the 
front, and each side steps out from his own side 



56 PHYSICAL CULTUKE. 

until he stands in front of the outside aisle, through 
which he passes hack to the rear, where he again 
side steps to the middle aisle and passes forward. 
This exercise will take long and patient practice. 

Single file: At the head of the double column, 
the original leader starts out in the direction in 
which he first led, his partner following; all step 
into single file as they come to this point, and march 
around the room, executing by commands the Manual 
of Arms. 

To the seats : The first pupil of each column will 
lead up his own aisle, each pupil stopping beside his 
desk. 

Half: The command should be given just as one 
foot comes to the floor ; the pupil will rest on that 
and bring the other to its side. 

Common time is at the rate of 90 steps; quick 
time 110 steps, and double quick time 150 steps per 
minute. 

ISToTE. — Going iip and down stairs should be taught in 
connection with the marching. Lead the children by twos or 
in a line through the halls and on the stairs, instructing them 
to plant the entire foot on the step and place the work of the 
movement rightly on the thigh and strong muscles of the 
leg. The body should not be bent forward, but carried 
easily erect. Stair walking, if done in this way, will not 
tire the body, injure the spine, nor exhaust the breath. If 
the breathing were correctly managed on the way up, there 
would be no necessity for stopping at the top to get breath. 



MARCHING. 57 

FANCY STEPS. 

After strength and perfect control of the body 
have been gained in marching; the figures and 
changes may be taken with fancy steps, which make 
a graceful recreation. 

Touch Step (Hands at Side) — Waltz Time. 

1. Touch right toe forward (the length of one 
step). 

2. Touch backward. 

3. Step forward. 
Eepeat with left. 

Cross Step — Waltz Time. 

1. Touch right toe forward. 

2. Touch the same toe six inches past left foot. 

3. Step forward. 
Repeat with left. 

Chain Step. 

1. Lift right knee very high and take the waltz 
step obliquely to the right, then to the left. 

Combination of Touch and Chain Steps — Polka 
OB Maech Time. 

1. Touch right toe forward. 

2. Cross it past the left foot about six inches. 

3. Step with right foot, chain with left. 

4. Step with right foot. 



58 PHYSICAL CULTURE. 

A pretty effect is gained by taking these steps in 
single file with clasped hands; the right may be 
reached forward and the left backward without turn- 
ing the body. 

Double Ceoss and Touch Step. 

1. Cross the right foot over in front. 

2. Touch it out at side. 

3. Cross it over at back. 

4. Step forward. 

Heel and Toe Step. 

1. Touch heel forward, one step.^ 

2. Touch toe in same place. 

3. Touch toe backward one step. 

4. Step forward. 

Gypsy Step. 

1. Touch right toe forward to right. 

2. Bend knee and bring ball against left instep, 
heel in front of left ankle. 

3 and 4. Chain two steps. 



WANDS. 59 



FlEBT SeEIES. 

(Eight counts to each number; where the time is 
not indicated, give one count for the move and one 
for position) . 

Posiiions — vertical; the wand is held ear high at 
right side, by the thumb, fore and middle fingers, 
knuckles out. Horizontal; at signals or chords 
(struck with both hands) the wand is dropped in 
front of body, arms straight down, fingers under, 
hands dividing the wand into thirds. 

1. Bend the arms, bringing the wand to chest, 
eight counts. 

2. Baise the elbows shoulder high bringing 
wand to chest, eight counts. 

3. Step right foot forward diagonally right, at 
the same time raise wand slowly over head; bring 
both back to position, four counts. Repeat. 

4. Same with left foot. 

5. Raise right hand to left shoulder keeping left 
hand down at side, eight counts. 

IsToTE. — The wands used in the grades are one inch in diam- 
eter, and in length vary, with the grades and children, from 
thirty-six to forty-four inches, these can be furnished at any 
planing mill or carpenter's shop. Some of our classes have 
displayed industrial genius by supplying their own appa- 
ratus from discarded broom sticks; aside from the economy, 
the process of making uniform, polishing and painting these 
sticks afforded the children much pleasure, 



60 PHYSICAL CULTURE. 

6. Raise left hand to right shoulder, keeping 
right hand down at side, eight counts. 

7. Alternate, eight counts. 

8. 1, raise right hand to left shoulder ; 2, bring 
wand to position 2 ; 3, lower right hand at side and 
bring left hand to right shoulder ; 4, horizontal posi- 
tion, eight counts. 

Reverse, eight counts. 

9. 1, Swing wand arms straight, shoulder high, 
front; 2, from this position swing wand to right, 
shoulder high, turning shoulders; 3, come back to 
first move; 4, horizontal position, eight counts to 
right and eight to left. 

IQ. 1, face right and bring wand to chest; 2, 
wand shoulder high front, arms straight ; 3, wand on 
chest ; 4, wand over head, arms straight ; 5, wand on 
shoulders back of head; 6, wand over head, arms 
straight; 7, wand to chest; 8, face front, wand down, 
take the same exercise to the front ; to the left ; and to 
the front again; resting wand at fifth count in the 
last move, on the shoulders. 

11. Waist motion; 1, turn shoulders to right, 
keeping feet firmly in place; 2, turn front; 3, turn 
shoulders left ; 4, turn front. Repeat. 

12. Bring wand, arms straight, to front horizon- 
tal position, eight counts. 

13. Bring wand to chest, at same time step right 
foot diagonally back then come to starting position, 
alternate slowly with the same movement to the left. 



WANDS. 61 

14. Charge right foot diagonally forward, raise 
right hand shonlder high to right oblique, and left 
arm across in front of the body. Take this four 
times to right and four times to left. On the last 
count bring wand to perpendicular in front of face, 
grasping it at lower end with both hands, right 
above ; end of wand resting on chest. 

15. Charge right foot diagonally forward, bring 
left hand to right shoulder and slide right hand 
along and up the wand, pointing it diagonally out 
and up to right; when coming to position on eighth 
count place left hand above the right and take the 
same exercise to the left, eight counts ; on the last 
count come to position, horizontal in front. 

16. Boiving Motion. — Charge right foot diag- 
onally forward, raise arms shoulder high, sway back 
and forth, bring wand to chest and out, eight counts ; 
same to left. 

17-. Eest one measure. 

18. Eaise wand over head slowly and kneel on 
the right knee, eight counts going down; while on 
the knee bring wand to chest twice, eight counts; 
with wand raised come back to position, at the same 
time bring wand down in front, eight counts. Re- 
peat kneeling on left knee, alternate to right and left 
once more. 



62 physical culture. 

Second Sekies. 

(Arranged especially for the seated school room; 
with the slightest care the seat-knocking can be 
avoided). 

March time, unless otherwise stated, count eight 
for each numher; and one each for the move and 
position. 

1. March to places, with wand held in vertical 
position. 

2. Bring wand to chest: — 1, 2, place left hand 
under wand and grasp it at right shoulder; 3, 4, 
draw wand horizontally across chest; 5, 6, by the 
placing of the hands, divide the wand into thirds ; 7, 
8, extend arms, shoulder high front. 

3. Bring wand back to chest and out. 

4. Bais9 wand to vertical in front, arms straight, 
right hand over; back to horizontal. 

5. Left hand over. 

6. Alternate 4, and 5. 

7. Extend wand pointing right oblique, step left 
foot across, toe pointing in same direction; bring 
wand back to chest and foot back to place. 

8. Take 7 to the left. 

9. Alternate 7 and 8. • 

10. Step right foot back; at same time raise 
wand over head and bring back, resting on shoulder ; 
bring foot back to place and wand to chest, four 
counts. Kepeat. 



WANDS. 63 

11. Take 10 with the left foot. 

12. Alternate 10 and 11. 

(The facing are all taken by slightly raising the 
right foot and carrying it around, while turning on 
the left heel). 

13. 1, 2, slide hands to ends of wand; 3, 4, hold 
wand on chest; 5, 6, turn facing right; 7, 8, raise 
wand over head. 

14. 1, 2, step right foot back, bow from waist, 
arms move straight down; 3, 4, 5, 6, throw weight 
on back foot, raise wand over head; 7, 8, step right 
foot to position beside the left and bring wand down 
in front. 

15. 1, 2, face front; 3, 4, bring wand to chest; 
5, 6, turn facing left; 7, 8, raise wand over head. 

16. Facing left, same as 14. 

17. 1, 2, face front; 3, 4, bring wand to chest; 
5, 6, raise wand over head; 7, 8, hold. 

18. 1, 2, drop wand back diagonally across left 
shoulder, right hand near right ear; left arm ex- 
tended downward; 3, 4, both arms down at side 
wand across back, at waist ; 5,6, left hand near left 
ear, right arm down; 7, 8, position over head. 
Eepeat. 

19. Reverse, by dropping wand first across the 
right shoulder. 

20. Yery slowly bring wand to horizontal fi'ont 
position, arms straight down, slide hands in from 
the ends. 



64 PHYSICAL CULTURE. 

21. Step the right foot forward and turn right 
end of wand against right knee, kneel on the left, 
keeping left arm straight and body steadily erect, 
both in going down and coming np. (Sixteen 
counts. ) 

22. Reverse, kneeling on the right knee. 

23. Bring wand to floor ; 1, 2, catch wand firmly 
at the end with right hand, fingers up; 3, 4, hold 
wand vertical in front at arm's length; 5, 6, place 
wand on floor about 16 inches in front of toes ; 7, 8^ 
rest. 

24. Charge right foot forward bending only 
front knee and hips, keep right arm straight, let the 
wand incline a little forward, four counts. Repeat. 

25. Charge right foot backward. 

26. Alternate forward and back (sixteen counts). 

27. Change wand to left hand and rest. 

28. Charge forward with left foot. Same as 24. 
- 29. Charge backward with left foot. 

30. Alternate (sixteen counts). 

31. Raise wand from floor; 1, 2, raise wand up 
with left hand ; 3, 4, catch with right hand, and 
bring to position vertical, at right side. 

32. The pupils will now mark the time and while 
carrying the wands they may execute the school 
room march drills, at the same time introducing 
pretty changes with the wands. 

By commands the pupils may carry the wands 
horizontally at limit in front; over head; resting on 



WANDS. 65 

the shoulders ; or dropped gently on the shoulders in 
front. 

The iva7id hridge: While marching by twos, at 
the rear of the room the wands can be crossed, or 
each pupil may reach his wand over, dropping it 
into his partners left hand; they then, raise their 
wands resting them on shoulders, or to limit over head, 
and side step forward. As they separate at the head 
of the double column each catches his own wand and 
carries it to vertical position at side. 

At the close of the march the pupils will place the 
wands in the rack, and pass to their seats. 

To form on the floor of a hall or drill room, the 
pupils, arranged according to their height, must 
march in single file to the rear of the room, face 
front, and number by fours (threes if the room is 
narrow), mark time and march forward; No. 1, 
standing in place; No. 2, advancing two steps, (of 
from twelve to sixteen inches) ; No. 3, four steps, 
and No. 4, six steps. This gives room and position 
for taking the wand movements. At the close of 
the drill the pupils mark time, and backward march, 
into single file. 



66 PHYSICAL CULTURE. 



FiBST Seeies. 

Waltz or March Time. 

Positition: Arms bent, hands chest high, clubs 
held in front. 

1. Right club heart shaped circle to right, eight 
counts, to left, eight and reverse right and left, eight. 

2. Double heart shaped circle to right and left, 
eight each. 

3. Right club shoulder circle out eight; same 
with left. Reverse right and left (dropping club 
inward, back of head). 

4. Complete circle (heart shaped and short com- 
bined) right club to right. Left club to left; reverse 
each, eight times each. 

5. Right club lower front and reverse on eighth 
count, leave at side ; same with left. 

6. Take pendulum movement or swing clubs 
down in front from side to side parallel shoulder 
high; on eighth count swing. 

7. ' Right club over head parallel to floor point- 
ing to left side, drop it back of head and out 
shoulder high to right side, on eighth count bring 
right club to side and raise left to club shoulder 
high to left, and take same circle, alternate seven 
counts, on the eighth swing both clubs to position. 



CLUBS. 67 

8. Drop circle — turn at the waist to right, and 
take a double short circle, then a pendulum swing to 
left and the same on left side ; on eighth count come 
to position and take, 

9. Double shoulder circle to front, on eighth 
count catch clubs under the arms ; in number 1, 2 and 
3, circles can be alternated. 

E-emember that the series is arranged for music, 
this accounts for certain irregular counts. 

Second Series. 
Modjeska Wcdtz—Good Time. 

Position and time same as in First series. 

1. Double heart shaped circle right, four, left 
four. 

2. Combine inioard and outward siveeps to the 
right and to the left, alternate. 

3. Right club short shoulder circle out, leff^ club 
heart shaped, out (four each). Same to left four. 

4. Reel eight. Same as 3, but no pause and 
circles alternate. 

5. Dro2^ circle, four. Raise circle (reverse of 
drop), four. Inside drop; (drop clubs inside of 
arms) four, side circle parallel to floor seven; a 
pendulum motion between each short circle; (for 
drop see First Series) ; after seventh side circle 
make a plain pendulum back and forth and bring 
clubs to position. 



68 PHYSICAL CULTURE. 

6. Six circle parallel. Two drops to the right, 
one double lower front, two raises and one shoulder 
circle, drops and raises, elbow and shoulder high. 

7. Seven circle parallel same as five, with three 
drops on right. 

8. Eeel four times. 

9. JReel and loiver front combination, four (^two 
short shoulder circles gives time for one lower front). 

10. Double short shoulder circles to front, out 
and in, catch on eight count. 

Third Series. 

1. Eeel, eight counts. 

2. Beel and loiver front, eight counts. 

3. Reel and side Jiigh circles (the right club 
makes the circle shoulder high, the left the same), 
four movements each. 

4. Heel and three lower front circles, left club 
makes four short shoidder circles, right makes one 
lower, one elbow high and one shoidder high on left, 
three times, one drop on left. 

5. Double over head parallel. (See single over 
head parallel series one, seventh position. ) 

6. Short reel same as 1, but the hands do not 
drop lower than shoulders, position on eighth count. 

7. To the right make a half outside drop, and 
a half inside drop, one full drop ; pendulum. Same 
on left, eight counts. 



CLUBS. 69 

8. From the left side swing left club across to 
right side, begin the side circle parallel to floor, 
first right then left, on eighth count swing to posi- 
tion. 

9. Lower back circle right, left, four each. 

10. Double loiver back, four; and double lower 
back and front, four. 

11. The divide left club makes lower front while 
right club makes lower back and vice versa. Same 
from left side, four. 

12. Double back circles both in same direction. 
IB. Double shoulder circles or over arm follow. 
14. The windmill, or full arm reverse movement. 

XoTE. — As it is not expected that any one, wholly inexpe- 
rienced in club swinging, will attempt these exercises, the 
explicit directions are not given, but the arrangement and 
terms will be understood by those familiar with any club 
series. 




70 PHYSICAL CULTURE. 



Broad Sivord Movements — March Tune. 
For these exercises use light sticks or steel foils. 
I. — Blows. 

1. Top of head. 

2. Left cheek. 

3. Eight cheek. 

4. Left shoulder. 

5. Right shoulder. 

6. Left thigh. 

7. Eight thigh. 

II. GUAEDS. 

1. Sword parallel to floor, eight inches above 
and in front of the head. 

2. Sword perpendicular, hand shoulder high on 
left, body slightly turned to left ; sword to side and 
front of face. 

3. Same as 2, but on right. 

4. Same as 2, but hand elbow high on left. 

5. Same as 4, but on right. 

6. Swing sword from position down across right 
knee, right forearm nearly parallel to floor, right 
hand on left, point of sword near to floor, finger 
nails front. 

7. Eeverse 6, right arm bent, elbow back, back 
of hand front, guard right thigh. 



FENCING. 71 

III.^ — ^Taking Distance. 

Two pupils stand side by side swords at carry; at 
chord or count they face each other and step apart 
taking " Distance," each pupil stands with the sword 
handle touching his own body, and point of sword 
touching his partners sword, parallel to floor, waist 
high. 

lY. — Taking Position. 

Step left foot back putting the weight principally 
upon it, right arm half bent, elbow six or eight 
inches from the side, point of sword not higher than 
eyes, left arm back of body, 

Y. — Directions. 

Let No. 1, or pupil on the right, give the first 
blow four times, coming to position, and striking 
swords between blows. 

No. 2, guards against blows, then change ; and so 
alternate each blow and guard. 

It takes much practice to give the blows alter- 
nately. When striking sway the body slightly for- 
ward, but in guarding hold the body firmly in place, 
moving only the arm. 

YI. — Lunging. 

Position same as fencing. Five blows. 
1. Head; 2 and 3, shoulders; 4 and 5, lower 
blows. Guard same as fencing. 



72 PHYSICAL CULTURE. 

No. 1, will lunge and strike ; No. 2, will step right 
foot back of left, charging distance, and guard. 
From this position, No. 2, will lunge and No. 1, step 
back and guard; left foot remains in place. Hold 
each lunge two or four counts. 

YII. — Short Salute. 

1. With sword at carry, and distance taken. 

2. Bring swords to horizontal position down in 
front, 1 and 4 counts. 

3. Swing both hands over head, sword parallel to 
floor, 4-8 counts. 

4. Left arm back of body, right hand chin high, 
sword perpendicular, 8-12 counts. 

5. Lower point of sword to floor in front of left 
foot, 12-16. 

6. Strike sword below on left, 1-4. 

7. Strike sword below on right, 4-8. 

8. Bring sword to position (always on the 
right), 8-12. 

9. Bring right hand to chin, sword perpendicular 
on count 13, bring sword down on right side, palm 
front 14, back to 13, count 15, position to fence, 16. 

YIII. — Gedee of Exhibition Drill. 

1. Short salute. 

2. Take blows through once, striking two blows 
each. 

3. Take blows through twice, striking once. 



FENCING. 73 

4. Take lunges once. 

5. From last lunge on 1 and 2, front face and 
bring swords to position 13 in nine^ (Short Salute), 
counts 3 and 4 swing to 14 in nine; 5 and 6, carry 
swords ; 7 and 8, hold position. 

Long Salute. 

1. Carry arms. 

2. Half face to left pointing sword down and to 
front of room. 

3. Raise hand, sword point up. 

4. Horizontal in front, blade between knuckles 
of third and fourth fingers. 

5. Bring sword over head, arms up. 

6. On guard, position for fencing. 

7. Bring heels together ; point sword front. 

8. Half salute to right. 

9. Half salute to left. 

10. Half salute to right. 

11. Face salute, bring to face twice. 

12. Lunge forward, right foot, salute from face. 

13. Half salute to right. 

14. Moulinet over head, sword point left and 
then right. 

15. Face salute. 

16. Position carry. 

17. Scholars step side by side and wheel right, 
and march off. 



74 PHYSICAL CULTURE. 

@ gestures ® 



These attitudes of graceful action and statuesque 
repose especially cultivate the enviable power of self- 
control, and the expression of significant gesture; 
they should be practiced until the muscles them- 
selves gain the responsibility of reproduction, then 
will result the charming absence of self-conscious- 
ness, and the light of the living soul can shine out 
through unfettered natural beauty. 

Music — Sivanee River, or Flower Song, 

Eight or six counts to each position. 

I. 

1. Fold arms count eight. Repose. 

2. Charge to right, right hand above head palms 
out, left hand folded across the back: Expedancy. 

3. Betain the weight on right foot; bring right 
hand to hip point the left hand diagonally back and 
up: Direct attention haclavard. 

4r. Hands palms down over right foot, bow body : 
Pity. 

5. Fold arms. 

Same position to the left. 

II. 

1. Charge to right, hands clenched back, arms 
straight, chest up: Determination. 



POSTURES. 75 

2. Change weight to left foot, throw hands up 
palms front: Fear. 

3. Bring weight back to front foot, hands drawn 
back to chest: Renewed courage. 

4. Fold arms. 

Same positions to the left. 

III. 

1. Cross right foot back; raise left arm over 
head palm down, look to right, right hand back of 
body: Exidtafion. 

2. Change position of arms, look left. 

3. Kneel on right knee, clasp hands over the 
left, look down: Religious devotion. 

4. Fold arms. 

Same positions to the left. 

IV. 

Double III, one pupil takes 1, and the other 2; 
catch and raise inside hands, kneel together. 

1. Right foot charge back, hand on hip; left 
hand over left knee, weight back: Inierest foicard 
inferior. 

2. Step right foot forward; hands to the right, 
palms back, turn the head and look left: Disgust. 

3. Right toe touching back of left heel, left arm 
over head, right hand on left chest, palm outward, 
look to right: Guarding against danger. 

4. Fold arms. 

Same positions to the left. 



76 PHYSICAL CULTURE. 



1. Right foot charge back, clasp hands over 
head : Joy. 

2. Sway forward, fold arms and look left: Self 
possession. 

3. Charge with right foot, stamp, clench left 
hand back at side, right hand across chest, palm 
front : Indignation. 

4. Arms folded. 



Same positions to the left. 



VI. 



1. Right foot over in front, left hand catching 
dress, right hand at side, look down, bow body: 
Modesty. 

2. Turn the body facing left, step left foot toe 
pointing left, point upward with left hand, right at 
side, rise on both toes, look up over right hand: 
Murcury pose. 

3. Face front, step right foot forward, rising on 
toes, raise both hands palms up; bring them down 
backs up, at the same time bring foot to place: 
Pleading. 

4. Arms at side. 

Same positions as 2, to the left. 



POSTURES. 77 

YII. 

1. Charge right foot and lisien with left ear, left 
hand up back of left ear ; charge left foot and listen 
with right ear, right hand up. 

2. Step back with left foot, and throw weight 
back, bring clasped hands to chest : Sudden fear or 
anguish. 

3. Step forward with right foot and raise right 
hand looking out under hand: Watching. 

4. Step back extending right hand forward, left 
down : Recognition. 

5. Arms at side. 

Same positions to the left. 

VIII. — Altitudes Expeessing Opposite Emotions. 

To be given by couples, the pupil on the right 
executing 1, w}iile the pupil on the left executes 2. 

1. Challenge. — Weight on left foot advanced, 
right hand palm up, descends quickly in front, left 
hand at side, chest up. 

2. Defiance. — Weight on left foot back; right 
arm bent sharply across chest, hand clenched back 
up, left hand clenched at side. 

Eest one measure, change parts. 

IX. 

1. Pleading. — Weight on left foot advanced, 
kneel on right knee, hands intertwined and raised, 
look up, toward the left. 



78 PHYSICAL CULTURE. 

2. Rejection. — Weiglit on left foot back, hands 
extended outward palms to right, head turns slightly 
to left, shake it. 

Rest one measure, change parts. 

X. 

1. Doubt — Weight on right foot back, right 
hand on forehead, head bowed. 

2. Faith. — Weight on right foot, transfer to left 
foot advanced, head and eyes raised, hands crossed 
on breast. 

Rest one measure, change parts. 

XI. 

1. Supplication. — Weiglit on right foot, retired, 
kneel on right knee, hands raised, palms up. 

2. Resignation. — Weight on left foot back, head 
bowed, hands intertwined, palms bent downward. 

Rest one measure, change parts. 

XII. 

1. Listening. — Weight on left foot, step right 
foot forward, to right listen with left ear, step left 
foot forward, listen with right ear. 

2. Admiration. — Right and left foot step back- 
ward, head held back, arms raised, palms up, wave 
downward. 

Rest one measure, change parts. 



BOWING. 79 

XIII. 

Salutaiioii. — (Taken by the entire class. ) Weight 
on left foot, advanced; change to right foot, and 
retire left foot, bow body, hands palms up, wave 
downward. 



^Bowing4 



No form of gesture or expressive movement is 
more often abused, nor yet, can be given with more 
charming effect than this hug-bear of Friday after- 
noon. It is positively cruel to call before a school, 
an untrained child and required him to make a hoiv. 
This so-called bow is usually a nod which amuses 
the school, embarrasses the child and still leaves him 
in utter ignorance of the proper thing to do. 

The School Koom Bow. 

This bow of the platform should be made with 
graceful repose and may appropriately be used in 
the parlor. 

Boys make this bow from the first position stand- 
ing by slightly inclining the body forward from the 
hips ; the arms hang easily at the side while the eyes 
glance forward. 



80 PHYSICAL CULTURE. 

GiJ^ls are afforded an opportunity for displaying 
mnch grace in this exercise ; they should practice by 
the following analysis until the bow becomes one 
smooth, continuous movement : 

1st. Touch right toe back (for class uniformity 
begin with the right). 

2d. Bow forward at hips, letting the arms fall at 
the side; at the same time bringing weight to retired 
foot. 

3d. By involution of movement, beginning at the 
very feet, raise the body to erect position simultane- 
ously changing the weight back again to the ad- 
vanced foot, or for a more elaborate parlor bow, the 
weight may still be retained on the right foot while 
the left is brought back; this changes the position 
of standing. 

(In the higher grades practice both forms.) 

The Steeet Bow. 

On the street as elsewere, it is well for children to 
wait for an indication of recognition from their 
elders, yet there is no strict rule of formality gov- 
erning the matter as to who, lady or gentleman, old 
or young, shall speak first. The greeting should be 
without pertness or affectation ; it is considered more 
respectful to accompany the greeting with the name 
of the person spoken to. 



BOWING. 81 

The hoys should not omit the graceful salutation 
of politely lifting their hats, which in order to pre- 
vent the hand passing between the faces should be 
done with the hand aivay from the person passed. 

Of the girls, only a slight inclination of the head, 
with a cheerful look and pleasant word of greeting 
is required. 

Bowing should be carefully and earnestly prac- 
ticed as a regular school-room lesson. 

The exercise may be taken in the aisles or the 
pupils can march forward and take in turn, the 
school-room bow, from the platform — for the street 
bow the boys and girls may form in separate columns 
and by twos advance from opposite sides of the room 
bowing in front as they pass each other, the boys 
making a semblance of raising their hats; or they 
may actually wear their hats, and here they could 
also be taught to carry their hats — not one boy or 
man in fifty manages his hat with ease. 




OUTLINE FOR A SPECIHL 

READING • LESSON. 



(DEGLAMATION.) 



\J. »—_ D □ r— » J^. 



GRHMMHR GRHDES. 



OUTLINE FOR A SPECIAL READING LESSON. 85 

Ovjtlir\e Special JReadiiAg LessoiA. 



Grammar Grades. 
I.— Preparation (Seat Work) — Menial Basis. 

1. Select — mark diacritically and define new 
words. (The number may be limited to five or ten. ) 

2. Select synonyms or like expressions. 

3. Select best thought. 

4. Look up, 1st, biography of persons; 2d, loca- 
tion and history of places ; 3d, historical or scientific 
references. 

5. Eead carefully for the thought. 

II. — Eecitation. 

1. Review preparation (4). 

2. Make a black board list, from the 7ieiv loords 
selected, articulate, pronounce and apply them ; also 
from the synonyms and best fhoughfs. 

3. Tell the story in your own language. 

4. Give new thoughts. 

In making the black hoard lists (2) call on some 
pupil to write his selection on the board, while the 
others check off on their own papers ; so continue to 
call on the pupils in order, each giving his unchecked 
numbers until a complete list of the unlike selec- 
tions will be grouped on the black board for drill 
and discussion. 



86 PHYSICAL CULTURE. 

III.^Class Deill — Physical Basis. 

Give a class drill in gymnastics, standing posi- 
tions and breathing. With words and passages 
chosen from the lesson practice vocal exercises, plac- 
ing and projecting the tone, opening the throat, de- 
pressing back o£ the tongne, using lips, blending 
words, lifting eyes from page, articulation, emphasis, 
inflection, tones and qualities of voice. 

IV. — The Oeal Beading — Mental, Moral and 
Physical. 

it the foregoing preparation has been faithfully 
made the pupil will understand the thought and will 
have gained sufficient control of the voice and the 
elements of expression to read aloud with natural- 
ness and accuracy. In no case allow the pupil to 
blunder along, stop him; he cannot interpret to 
others that which he does not understand himself. 
Lead him to comprehend the meaning, then the 
thought and his feelings will prompt the right ex- 
pression. It will greatly aid in bringing out the 
meaning to (jroiip by emphasis, pauses and inflec- 
tion the inferior words around the thought words, 

" To this one standard you may justly appeal, 
Here lies the golden secret, learn to feel.' 



Note. — To follow the above plan, with an ordinary readr 
ing lesson, will take the usual scheduled recitation and 
study time of at least three days, but the result in establish- 
ing habits of thought gathering, and careful expression will 
amply repay for time spent in occasionally preparing a les- 
son in this way. 



DECLAMATION. 87 

^ DeclamatioiA ^ 



If it is desired to make a recitation of the lesson 
read, or (my select ion commit the words exactly, and 
after the menial picture has been clearly formed in 
the mind, apply the gestures, bringing ont the scenes 
and characters graphically, properly disposing them 
on the right and left as your interpretation and 
imagination direct. 

GESTUEE CLASSIFIED. 

Illustrative^ Directive, Emotive. 
I. — Illustkative. 
Suits the action to the word. 
Example. — Each horseman dreiv his battle blade. 

II. DiKECTIVE. 

Points out person, place or thing and carries the 
eye of the spectator to the object spoken of, either 
visible or located by imagination. 

These gestures must be arranged with pictorial 
accuracy and taken in' upper, middle and lower lines. 

Jj'ppei' Line. — The hand and eye must be elevated 
above horizontal or shoulder high, as in locating 
mountains, speaking of the firmament or of any 
object above the speaker. 



88 PHYSICAL CULTURE. 

Middle Line. — In addressing persons near by, or in 
speaking of objects at a distance, the hand takes the 
middle line, which lies between the shoulder and the 
the waist. 

Lower Line. — The hand falls below the waist line 
in pointing to objects near or below the level of the 
eye. 

III. — Emotive. 

An ontward expression of an inward feeling. 

Ex, — "Stay, lady, stay for mercy's sake, 

And hear a helpless orphan's prayer." 

A FEW IMPOKTANT RULES FOE GESTURE. 

1. First stand properly ; half the battle is gained 
when we have the right position npon the feet and 
can change the poise at will. 

2. No gesture should be made without a reason. 

3. Uniform strains require little gesture, while 
variable passionate expressions require many. 

4. The hand and fingers must be carefully trained. 
If the joints are stiff and angular, practice the 
decomposing and feather movements ; the second and 
third fingers should lie together and curve some- 
what more than the first and fourth, and be separated 
from the first a little below second joint from knuckle ; 
there should be a curve inward from the tip of the 
thumb to the wrist. The thumb never falls into the 
palm of the hand unless to signify treachery or 
weakness. 



.DECLAMATION. 89 

5. The eye precedes and accompanies the motion 
of the hand, yet does not look after it constantly, bnt 
returns to the audience. 

6. Every accented motion mnst have a slight 
preparatory movement in the opposite direction. 

7. Except in violent passion, the lines of gestnre 
must be in curves. Mentality is expressed by inward 
lines, passion by outward lines. 

8. Having located any fixed object, we must recur 
to the same point in again speaking of it. 

9. The gesture generally precedes the word, cer- 
tainly so in strong emotion. 




School Course of Practice. 



All Grades — General Positions and Drills. 



GRADES I AND 11. 

FiEST Semester:— 

First and second series "of first division, graded 

section. 
Marcliing — including commands 1 to 15. 
Primary games. 

Second Semester: — 

Third and fourth series of first division, graded 

section. 
Marching — commands 15 to 25. 
Work of both semesters reviewed. 

GEADES III AND IV. 

First Semester: — 

First series of second division, graded section. 
The decomposing exercises. 
Marching of grades I and II, reviewed. 
Harmonic poise (first three exercises) and walking. 
(90) 



school course of practice. 91 

Second Semester: — 

Second and third series of second division, graded 

section. 
Marching — commands 25 and 26. 
Bowing, walking on the stairs. 
The entire marching series and walking reviewed. 

GEADES Y AND YI. 

First Semester: — 

First series of third division, graded section. 
Review of decomposing exercises. 
The feather movements — bowing reviewed. 
One declamation with gesture. 

Second Semester: — 

Second and third series of third division, graded 

section. 
First three postures — two fancy steps. 
Wands — optional by vote of the school. 
One declamation, with gesture. 

GRADES YII AND YIII. 

First Semester: — 

First series of fourth division, graded section. 
A careful review of the Delsarte gymnastics. 
Wands and clubs (optional). 
One declamation with gesture. 



92 physical culture. 

Second Semestee: 

Second and third series of fourth division, graded 

section. 
All of the postures and fancy steps. 
Eings, clubs, wands and fencing (optional). 
One declamation with gesture. 



i--^)^^ 



For further information concerning the subject 
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The Author, 

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Des Moines, Iowa. 



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For Catalogue address the President, 

W, G. ANDRRBON, 

ADELPHI ACADEMY, BROOKLYN, N. Y. 



ETT SE3^IDX3iT<3- TO 



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48 UNIVERSITY PLACE, NEW YORK CITY, 

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